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Just wanted to let everybody know I’ve been on hiatus from posting. I was putting many hours into the blog, yet not getting any feedback at all, and minimal page views, so I figured I’d take some time off and reassess. Maybe it was too complex, I don’t know. I intended the site to be of value to some people, but was feeling like it was missing this intent. If there is any interest in more posts, please let me know. I’m here to help, and would love any requests you may have for subject material.

This is from Joe Henderson’s solo on his original version of Recordame from 1963. This simple lick is a pattern that outlines a F major triad. It starts a scale tone above each chord tone, then goes beneath each chord tone by a chromatic half step approach note. So it’s a mix of approach; scale tone versus chromatic. He creatively lands on the G which is the sharp nine of the E7 chord at the end of the form. You can hear the lick at 1:35 here.

Spend 5 minutes playing a A melodic minor scale in thirds throughout the entire range of the instrument.

5. Recordame by Joe Henderson

comp through the tune plugging in the ii-V-I from today’s MCP example into each ii-V

comp through tune using only voicings between frets 8 and 12. Try not to repeat any voicings

improvise several choruses playing two ascending lines followed by one descending line

play through the tune for a few choruses scatting a solo while you comp. Identify any vague spots in the form where you struggle to find good notes with your voice. The Ab- Db7 GbM to G- C7 FM section is a common place to get mixed up. Learn to sing the chords with authority.

This is a ii-V lick by the excellent young pianist, Leo Genovese that I transcribed from Sunlight by Esperanza Spaulding on Austin City Limits. You can hear it at 3:32 here. He actually plays the whole lick over a F7 chord resolving to Emaj, so he’s plugging it in as a tri-tone substitution. This lick sounds very out (and interesting) when analyzed, it’s really pretty basic. You can see he is using the melodic minor over the ii chord, rather than the more typical dorian mode. Over the V chord he is using the “Bebop scale” – a mixolydian with an extra chromatic passing tone between the root and the b7. Leo Genovese’s lines really pique my interest on this tune.

plug in both Dm chords into the A- and C- chords in the A section. Transpose accordingly

practice singing an arpeggiated tritone substitution V7 chord over each V chord in the B section, while playing the above voicings. Thus, instead of playing F7, Eb7, Db7 and C7, you’ll sing B7, A7, G7 and F#7. There will be some clashing since today’s MCP voicing is a sus4. This to practice how firm you can hold that tritone sub sound in your ear. If you have a well developed ear, arpeggiate the chord up to the 13th (1, 3, 5, b7, 9, #11, 13)

play the tune chord melody style one time through. Do NOT use the first voicing that comes to mind for each chord.

comp thru form at quarter = 160. Plug in today’s MCP voicings into each ii-V-I and into the A- and C- chords in the A section. You’ll need to transpose the chords.

solo through form using minor 6 pentatonic over the A section chords. As written above for the A- chord, up 3 frets for the C-

as a ear training exercise, try playing an A minor chord while singing an E7 altered scale over the chord. Sing the G7 altered scale over the C- chord. In the B section sing the altered scale for each V chord while playing ii-V-I. Resolve the scale into the I chord. The I chord is a familar sound, your ear should guide you to a chord tone.

when you are driving in your car, practice singing/arpeggiating the chord changes using your favorite voicings.

Thanks for the visit. Let me know if you have any ideas for improving the site.